Be My Editor – The Results Are In

What’s in a photographers portfolio is often there for intensely personal reasons. It could also be argued, on the other hand, that intensely personal reasons have no place in a professional photographer’s portfolio.

As a part of my search for personal clarity on this topic, and in an attempt to better understand my own demons and heroes with portfolio image selection, I recently asked for your feedback on my online portfolio. Anyone who was interested was encouraged to comment on which images from my current online portfolio were their most- and least favorite.

Firstly, this post is a thanks for such an overwhelming response. In fact, your gracious feedback steamrolled me with several hundred comments and at least that many emails in a mere number of hours. My inbox looked like a pile of hangers.

Secondly, this post and others to follow are intended to try to share the gory details of sorting through well over a million images to find work that I feel like represents what I’m interested in featuring right now. It’s my hope that highlighting some of my struggles and successes might help me work through them while at the same time might help inform others. Thus, if you would like to find out the results of the portfolio survey I did two weeks ago, please read on. I find the results quite interesting – and some initial conclusions about those results even more important. Click the ‘continue reading’ link below … — I learned from this exercise in part what I expected and in part what I did not. The parts that I expected were:a) that there would be some obvious favorites – good ol’ fashioned nice pictures; b) that there would be some obvious dislikes; andc) that we’d see a pattern in those images

What I did not expect was:a) that some pictures which are less engaging to me are some of your favoritesb) that some pictures I think are solid are your least favorite

View the results of just a couple hundred comments below, and if you didn’t tally your opinions in the earlier post and want to have another perusal of the current portfolio, click here.

Well, there you have it. I’m still processing the info you’ve helped me gather, but generally speaking I’ve learned–actually been reminded–of a few things.

First, your info helped remind me that some images have a certain raw stopping power. Those tend to be the ones that people like in a survey like this (1, 11, 20, 30). Simple and graphic, emotive.

Second, is that there are images in there that you really didn’t like that ARE winners, but perhaps more subtle. What snapped me into that aha moment was that I just won a job from one of the most well-regarded ad agencies in the country. During our initial meeting after winning the job, the creative director–in a room full of smart, creative people–highlighted images 3, 13, 14, and 28 (some “losers” in the portfolio survey) as “stunning” and “subtle”.

Third, is that there is a lot more to choosing portfolio images than just the raw power of them. Ask any art buyer or photo editor – the images that are in your book often direct what kind of jobs you land and what kinds you don’t. We can’t pander to this idea, but it’s a reality that is considered.

Finally, is the idea I love the most: try to speak to everyone, and you’ll speak to no one. This is part of being a creative professional that has always intrigued me. And really, who am I trying to impress? What I need to put out there is work that is stunning and relevant mostly to me. That’s when the best, the most moving work is done. And considering that, in a commercial gotta-get-hired reality, what I’m doing only needs to impress or catch the eye of 10-30 people each year…just a handful of creative directors or art buyers and my year is flush. Sure, it’s ideal of the the art we each pump out impresses the “right” people, but ultimately those people can smell work they like from a mile away – and most often that work is highly creative, subtle and nuanced to their specific wants and needs. You could call it a perfect match. Again, try to please everyone, and you’ll please no one. Instead, come with your own vision, a tight vision, and you’ll likely connect with those with whom you were meant to connect.

Much to my excitement, my portfolio will be changing quite a bit over the next couple months. I’m really giddy about a bunch of the work I’ve put in the can recently, and as such, I’m excited to be filling a few holes with those images. I’m looking forward to chronicling more of my challenges in putting this work together and I’ll continue to share along the way. I’m planning to highlight work I’ve done with creative consultant and overall superstar Allegra Wilde (who has helped me immensely in the recent past), as well as the research I’ve done into what really moves me personally. I’m also planning to begin occasionally posting individual images in a photoblog style. Just the image and a couple of words. Of course I’d love feedback or comments on those in the coming weeks and months, as well.

80 Responses to Be My Editor – The Results Are In

It’s not always good to ask for peoples’ favorite photo. Sure, it’s a nice photo, but does it suit your needs? I always think of a professional portfolio as mostly showing off the type of work that YOU want to do in the future.

Interesting post. I think you hit it with a few statements. First off, I have a feeling that many people who not only view, but also vote in these things are pretty “new” photographers who tend to have more of an enjoyment in the “in your face” photos and that is not a bad thing because after all…the common people who view ads and magazines see the same way.

My favorites were 3, 14, and 28 so it was interesting to see that those were not viewed the same by everyone else for the most part.

Finally, I think you said it when you mentioned the subtle look that some have…it may even be more of a sophisticated composition or moment that you were in at the time you shot it. The reason I think this is important is something I have noticed in my own images.

Others tell me their favorites and they rarely seem to be the same as mine. I think it is because I know which photos I was really “feeling” and those photos might not have the immediate “in your face” impact but something else that moves me. That is where the “who are you really shooting for?” concept comes into play. I guess if the creatives can decipher that, then I would want to work for those people and provide them with a similar “experience” in imagery for their ads/editorials.

What does that mean? I guess it means shoot for yourself and show what YOU want to show and you will love the work you get in return…if that makes sense.

I have been reading and studying a lot lately on how to put together a good portfolio, and one of the recurring themes I have seen, that I keep disagreeing with, is that you should not put pictures in that you love, but that you know may not loved just as much by others – I think your survey and post bears out how much that is wrong. If you are a passionate photographer, obviously, you will love some shots that others just may not identify with, or “get” in a way that you do, but that does not mean they are not portfolio worthy. As Jules said, these types of shots, that you the photographer love, may well be the best indicators of what type of work you love doing the most. And who knows what the person looking at your portfolio will like, if there are 10 people that see your portfolio, you will most likely end up with 10 (or even 11) completely different opinions on it. So as I start this process, I have decided to build my portfolio on pictures I love – because for me, I want my portfolio to represent me as a photographer, and what I love doing.

I am not too surprised that the art director you mentioned liked the more subtle ones – I would wager he sees hundreds or even thousands of photos a day, and by now would tend to drawn to the more unusual, less “in your face” (to quote Dan above) shots, just because they are different than the norm.

As all of us make meaning from the results, I’m reminded of stories about both Netflix and Coke. I believe the Netflix story was from the Long Tail, said the movies that rented the most were those that had both a large number of 5′s and 1′s rather than those that consistently scored and 4′s and 5′s.

The coke story came from Malcom Gladwell in “Blink”, where he described the reason Pepsi challenge taste tests worked because Pepsi was sweeter and in a small quantity tasted better. When you drank the entire can however, it often became too sweet and Coke was the preferred drink.

Our rating of your portfolio seemed like the quick taste test versus photos that would have a lasting image or help you get more work. I’d be interested to see the results if you asked your clients to rate the photos they thought were the most relevant to their business, rather than their favorites.

My favorite has always been 19, and maybe thats just my idealistic way of wanting the world to stay the way it is. I know your as fun lifestyle corporate advertising type work, and i like that, it makes me warm and fuzzy inside. The gritty sureal photos, while outstanding, steal from me my identity of what chase jarvis “the brand” is, and thats why i don’t gravitate towards them so much.

so i am selfish and totally opinionated in my love of 19, becuase sometimes i just want things to stay the same, i want chase jarvis images to be runners and bikers and cool 2002-ish type people in the subway, and i want to pretend that the world and things will stay the same for ever…

I find that image #13, the road image of the Land Rover, is so disliked by people, personally it’s my favorite image. Like you said, there’s most definitely something to be said for subtlety in an image…. interesting how many people disagree….

Thanks so much for the insights here. For one, this is the hardest part of being an independent artist – what/how to position your work. For two, I’ve longed for this discussion on even one of the other blogs, but have not found any that have captured my interest on this to date. Thank you Chase Jarvis for being the exception.

another great post. my personal favorite was 13. there is just something that draws me into that photo. Im shocked it was disliked more. And the try to speak to everyone…speak to no one, i just realized how much that makes sense. awesome!

Chase,Comments were closed by the time I got to the original, so I wasn’t able to contribute. I do have a question though.

I’m curious to know why you decided the portfolio should be 31 images. With well over a million shots, I’m sure you could show hundreds. Of course there is a fine line between showing too many, even if they’re good, and not enough.

Have you decided 31 is the right amount from experience and or some formula? Perhaps it is as simple as your site structure and its layout working well with this number.

this is a great exercise and a very insightful post. thanks for sharing this.

as a fairly new photography enthusiast, it’s a struggle to select photos for a portfolio — what with people praising you for photos you don’t really like, and silence or negative criticism on some of my favorite captures. i’m nowhere near your level, but it’s reassuring to know that everybody faces the same struggle. “come with your own vision, a tight vision, and you’ll likely connect with those with whom you were meant to connect.”

Chase,Thank you for sharing this process. It is incredibly helpful to aspiring commercial guys like myself. Funny thing, I found the images that the bigshot creative director pointed out to be among my favorites as well — “losers” in the poll but they have something that makes me linger. Call it subtlety, sophistication, whatever — there’s an emotional connection happening. And, as you’ve said, that emotion has to start with the photographer or how can it be felt by the viewer?

Hey Chase I was wondering why is it that you dont cross the line of putting in your fine art photos as another clickable area??… as Ive seen some other big photographers do but also seen their promoting a compiled book or something…. So as you say you want steer your portfolio to get the creative jobs or jobs you want,it would seem at first glance ok to put in those fine art photos but is the balance of business prohibiting that?…. Im of course talking about those ones you showed at your NY speaking last year with Photoshelter..

ok so i am a little lost here in the photos that the company liked 3,13,14 and 28. you did exactly what we are told not to do and the company liked it… not sure where that comes in here. if you get a moment please explain what your beleif is as to why they liked those images

As an “oldie,” I appreciate all you do for the community. Not only your teaching and philanthropy, but your willingness to share. Many photog’ers are passionate, but what distinguishes you from the many is all the extra effort, of which there are many examples thruout your blog.

Also having close friends at the ad agencies, I love engaging their sense of art and the public. The best are equally humbled by the fact they occasionally miss the mark. I am always aware that the unusual catches AD’s attention, and how hit or miss that might be with the broader public (or even one’s family).

Back to your blog. I surmise the average reader here would self-describe as more passionate about photog and design than the average Joe or Jane. It seems profound that one set of designers would find an image stunning when the many here describe the image as less effective. My own “least effective” was also one of the readers’ most favorite. Interesting for me as well.

I hope your reason for sharing is for us to arrive at our own conclusions. What did I learn? One: “simple, graphic, emotive images” are powerful. Two: always be cognizant of your client, but always shoot for yourself. Because you can never precisely predict how the public will respond to an image.

Maybe the art director thought 3, 13, 14, and 28 “stunning” and “subtle”, but will she be working after the next gig? Maybe that doesn't matter since you will get paid for this gig and be gone :>).

Here's the thing: we shoot the style we like, we feel comfortable with, the style which made us want to do this in the first place. Then you find someone who will pay for your style. Doesn't matter what we think about any of your images, what does matter is if these images reflect your view of the world, and if you can find a buyer who agrees with that view. So far you have done well with that without any of us (although it has been fun).

Dan, Rick and Tim are others are pickin’ up what I’m puttin’ down. Shoot for yourself first. While it’s fine/nice to have broad appeal with art buyers, AD’s, CD’s, and PE’s , you only need to jive with a double handful of great creatives each year to succeed – so let that free you to explore your art. And if your work has huge appeal – more power to you, but just make sure you’re staying fresh at least in your own head – otherwise…

Be inventive and soulful. Again, try to please everyone and you’ll please no one.

I am in the same situation you are, only thing is I’m sorting a couple of thousand images (mind you, probably about 100 000 sittting in my archive) to get my new portfolio and website out. I shoot lots of editorial, and are appreciated by my clients that I naturally shoot for layout. I leave space for copy, taglines, mastheads etc in my composition, but this often don’t make for a strong stand-alone image. This makes portfolio selection difficult. Also, I’ve realized that what I really CAN do, and DO, is not well represented in my portfolio. In fact, my portfolio currently does not even inspire me, whilst there are images that still rock my world, that I haven’t included. Why? Because I tried to please everyone and appeal to everyone. Good point Chase.

I think part of the reason you might have a higher number of votes for the simple, graphic images is the way you asked the question, not only the audience of your blog. You asked for each person’s _favorite_ and least favorite. These are going to be 1. the direct images that have immediate, obvious impact, and 2. the images that immediately strike the viewer with “what was he thinking?” I think a lot of the disparity between the votes and feeback from ADs might be here. Do I like #3? Certainly–I can see perhaps the deeper point behind it. However, it is not very visually striking at first, and so it certainly isn’t my “favorite.” Favorites tend to be simple, with a single, clearly defined “message.” A standard sports action photo, for example: single plane of focus, ball, eyes, and as few cropped limbs as possible. The more interesting photos, although less striking, tend to be those with multiple planes of interest, with greater thought on composition, like the work of HCB instead of the cover of SI.

but, having thought about what photos clients have said really convinced them to choose me as a photographer: it’s always been ones that I put in the portfolio against my better judgment: images that I thought weren’t as strong.

Here’s a try that I put together this week that potentially works more on the lines of this philosophy; images that aren’t perfect, but that are processed in a way that’s a bit more instinctive. Compare to my current portfolio.

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